Lo spazio non è neutrale. Una riflessione sulla rappresentazione grafica della disabilità di genere = Space is not Neutral. A Reflection on the Graphic Representation of Gender Disability

In a context of increasing social and cultural awareness regarding the role of architecture in promoting inclusive accessibility – both in new construction and in the conservation of cultural heritage – this paper offers a critical reflection on different forms of discrimination embedded in design practices and visual representation. These often-overlooked dimensions contribute to perpetuating exclusionary dynamics, raising significant questions for academic research in architecture. According to Article 2 of the United Nations Convention on the Rights of Persons with Disabilities and the contextual definition of ‘discrimination’, the presence of environmental barriers constitutes a form of discrimination. This condition is further exacerbated when intersecting with other identity dimensions, such as gender. In fact, women with disabilities experience a dual and often invisible marginalisation that is reflected both in the material configuration of space and in the symbolic codes that structure it. A striking example lies in architectural signage: when referring to disability, it typically employs gender- neutral figures or, implicitly, male-coded representations, aligning with a broader androcentric logic that dominates pictographic systems. This apparent neutrality conceals meaningful differences, inadvertently supporting normative visions that exclude female subjectivity and nonconforming identities. This issue is further illustrated in the design of public restrooms, where accessible facilities are often unisex and not differentiated by gender. While intended as inclusive, such solutions can fail to respect individuals’ gender identity and do not adequately address the diversity of user needs. In this context, Feminist Disability Studies have only recently developed a critique of the Social Model of Disability, highlighting its tendency to prioritise environmental factors over individual characteristics. The integration of an intersectional perspective into inclusive design thus emerges as a necessary theoretical and operational shift. This paper focuses on pictographic language as a cultural device capable of conveying worldviews, show- ing how it consistently privileges male or neutral representations of disability. These seemingly technical choices have significant symbolic and spatial implications, contributing to hierarchies of visibility and belonging. In light of contemporary activism, which calls for a collective engagement with the politics of inclusion, it becomes urgent to reconsider design paradigms in ways that meaningfully reflect the complexity of human subjectivities.